Making Sense of the Experience
You can find the Part I of this She Who Knows Blog/Pod post on my Website at PowerSourcerer.com under the Blog/Pod tab. It’s the transcript of the session where I shared my experience of going into an altered state to travel across time and space.
You may prefer the audio version which you can listen to here, at approximately 24 minutes.
I kept the original phrasing as I transcribed this experience. It isn’t always the most eloquent or concise and the writer in me fights to edit it. I do edit but only for typos and glaring grammatical errors. The reason for this is that I find that the way I describe something often contains meaning. For instance, why would I repeat that the dog followed me rather than saying that the dog refused to stay with his master? Or why would I describe the kaftan I was wearing in exactly the way that I did? Although it has been more than two years since the experience, I can still feel the kaftan against my skin. I should also mention that it can sometimes be years before the significance of a session comes to me consciously.
I’m aware that I have been working with a theme over the past few years – since I changed my logo to a laser beam arrowing into the center of a heart. I keep asking what ‘Multi-dimensional’ means, to me and to others. What is this shift from the ‘3-D’ to the ‘Multi-D’ and what is my role in this shift? How do I navigate it? How do I help others to navigate it?
Often, my work involves helping my clients, friends and family to understand the themes that seem to be running through and around multiple lifetimes. We discuss the overlapping gifts, relationships and life challenges. We look for similarities and differences and query the potential for developing awareness across parallel lifetimes or through time and space. We ask what can be influenced, learned or healed from this time and space.
I always do, with my clients, what I have already been doing myself. I regularly remark that I learn something in my own life and turn immediately around to pass it to the person beside or behind me on the metaphorical learning ladder. You may be curious as to what I felt was revealed to me in this session. I think I can safely say that the whole session addressed the Multi-D theme. We moved through and across lifetimes and I followed two other players or souls, with whom I interacted in all three.
The Beach Scenes
The first beach scene almost felt like an introduction; man, dog me. I thought, ‘You!’ and yet I had the thought that we didn’t know one another, as we stood, each in our own reality, on the beach. There’s a sense of knowing him and yet not. If this scene introduces the characters or roles, I wonder who this man is, who am I and who is the dog? Are they three aspects of me? Are we three, members of the same soul family?
In this scene, there was an emotional tone of solitary reflection, peace and comfort. I seem to be able to look at them through time and not be seen – although the dog seems to sense me in this scene. The man is perhaps well-grounded into the solid, wet beach with his bare feet and rolled trousers. There is a stiff wind off the ocean and, although the weather is fine, it isn’t the sort of weather for lazing under an umbrella. I am cautioned not to make myself known as I witness the man and dog. The scene is spacious, open, clear, unobstructed by any beach debris, stones or promontories. It feels like a reflective pause.
The second beach scene introduced the element of connections between lifetimes, be they ever-so-ordinary; man is connected to boy and I am connected to sailor. And the beach is similar, albeit around the corner of time, but the feeling is of action rather than reflection. The beach is smaller and more intimate than the one in the scene before. There is a sense of delighted recognition and rightness when the boy finds me on the 6 beach. I often experience this in this lifetime. This scene feels like a turning point in that life, with a clear before and after.
My Interpretation of the Transition
As I think back a-ways, I believe that my association with a beam of light, as being familiar to me and a means of connection with my higher self, extends further back than my new logo and the concept of using a laser beam to bring through information when I channel. What I’m saying is that a beam of light is both important to me and familiar. In this session, I am using it to travel from one scene to the next but the dog recognizes it as well.
That makes me curious about what who the dog is or what he represents. (I felt it was a ‘he’.) Whichever, the dog in dog-form seems to be part of the two earthbound beach scenes. He shows up in the spaceship scene, familiar and connected to me but in a different form, and still belonging with the man. I wonder why. I stated in my observation that he ‘has to stay with the man’. It seems that ‘I’ draw ‘a line in the sand’, perhaps representing a boundary. The dog doesn’t like it and the man doesn’t see what the dog is reacting to. Both reactions may be to inconsequential events, that are puzzling more than aggravating. I imagine this might be similar to my reaction to some of the energetic boundaries that I encounter in my life. The man thinks the dog is a ‘goofball’. This is not a term that I use, therefore I consider it to be significant and not just ‘inconsequential’! This is a transition between scenes so I wonder what it says to me about transitions. Some part, whether of me or my soul group, can see beyond the obvious, can move between realities, but doesn’t understand why there are boundaries or barriers.
The City Scene Interpretation
The Main Level…
The scene on the busy plaza and in the bustle of the lobby of the public building in the city, introduced me as a character I recognize from my twenties in my present lifetime. Although it didn’t reflect an actual experience from this lifetime, it perhaps presented me with a lens, through which to consider the present me and some of my qualities that were present in my twenties and are still present now, in my sixties. These qualities may even extend beyond this lifetime.
- I do my work publicly and in large cities.
- I have great respect for public libraries and galleries, providing access to knowledge and culture for all. I see them as representing our reflection on our culture and what it can and could mean. As represented here, these nameless, faceless people reflect ‘culture and society’, as opposed to what might be represented by individuals whom I might know personally. I describe the area as ‘where people arrive’.
- Does this perhaps represent an entry and egress point for souls in this dimension?
- I can appear to conform to the public norms, represented by the dark-grey suit, while laying claim to the part of me that is creative and quirky, reflected in the unusual suit design and signature, funky shoes. I think this may represent a duality within me.
Up above…
I believe the elevator to the top, mirrors how, in my life, I shift between perspectives and therefore levels of understanding, which is represented by the transparency of the glass-tube elevator. I have had a recurring theme in my dreams, since my twenties, of getting on and off elevators, often with a struggle on the return to get to the floor I want – ‘getting back’.
The top floor I imagine might represent the fact that, in this lifetime, no matter the level at which I begin, I usually end up talking to the decision-makers in an organization. I don’t think this indicates prestige as much as a place where one can ‘see more’. As I emerged from the elevator, I thought of it as the eighth floor. To me, the number eight represents power and I see myself in my current lifetime as helping people to empower themselves. Because I traveled up to get to this space, I’m assuming that what took place on this floor represented a meta-perspective on my life in the public sphere.
I described the space as feeling peaceful. I do believe that in general I feel most peaceful when I can attain this level of perspective. Clean ‘design’, as I observed on the top floor of the building in the scene, incorporating a predominantly white background with colour blocks and abundant light, has long been important to my well-being. I note my use of the word ‘design’. I believe that we ‘design’ our lifetimes with our soul-purpose in mind. Here it may represent my experience as an Intergalactic being on Earth. I see myself as essentially a ‘being of light’, striving to help people find perspective and clarity in their lives. I help them to reflect on their purposeful design.
This level of the building is unpopulated. Even the meeting rooms are not of enough import for me to notice whether there are meetings in progress. Does this lack of living detail shift the focus to the potential of design, as yet unrealized? Does it indicate the as yet unrealized potential of my life? Even the coffee cups are laid out before there is anyone there to drink the coffee. Moving on to the oranges, I interpret heaped piles of anything, as signifying abundance. I noticed that the orange colour was vivid enough to draw my attention – almost as if it were itself natural art, displayed or offered, on the low table in the middle of the seating space. Orange can be associated with the second chakra, representing creativity and passion. On a metaphorical level, is this showing me that the artwork and space have been created but, as yet, there is no one to regard or appreciate it.
I adore coffee and conversation. In fact, I would say it is a mainstay of my life this time, and perhaps in other lifetimes as well. It encompasses an opportunity to connect, to share, in an egalitarian setting, to exchange perspectives, ideas and stories. The table was set for coffee, although it had not yet happened. Was this what this meeting was about?
And the man himself, who has shown up yet again in this scene… he appeared out of another space off to the right which I couldn’t see, so perhaps there is still another perspective that I don’t yet see. I felt comfort, familiarity and trust in his presence. It was as if I were meeting an old friend with whom I had a meaningful connection. With the lifting of his eyebrow, it was clear to me that he felt this recognition as well and I wonder what we were recognizing in one another.
I returned once more to noticing what I was wearing and in more detail than earlier. I don’t believe this is just happenstance. I noticed and recounted the entire design of the suit and the shoes and could feel myself wearing them. And I also noticed what was missing; the jewelry and purse, neither of which I would normally be without if I were away from home and dressed for business. I wonder whether, instead of my identity residing in my purse and choice of jewelry, it’s in the design of what I wore. I don’t actually own clothes like these, nor like the ones from the beach scene, so they must be representative in some way.
So let us dive a little deeper into the significance of the clothes. I have never owned nor worn a kaftan. I have a clear impression of this one as being made of silk that was light and floaty, with a beautiful black, white and silver-grey pattern printed on the silk. It was a work of art that I noticed but only paid attention to briefly.
As for the suit, I like suits, as a deliberate ensemble, although I haven’t owned or worn them since I left the business world thirty-something years ago. I like the colour gray well enough. I even like gray suits. What I don’t like is having to wear a gray suit, as if it were a business uniform that denotes an agreement with the system in which it is worn. Although I’m wearing a gray suit, it has a design twist – a form of silent rebellion perhaps. Further, I’m wearing it with what would have been considered to be inappropriate business footwear; especially in the era in which I worked in this particular city and location.
For the footwear, in terms of symbolism, I see feet as what propels me into my future. To have the shoes be works of art, as they are in this scene, perhaps says something about the future into which I’m headed. Appliqué or patchwork denotes something that has been adopted from another source and incorporated into a new item. Is this something from another part of me that has been creatively appropriated? For me, yellow is the colour of mental activity and thus bright yellow shoelaces could represent noticeably different thinking that holds together the two sides of the shoe or of the design of how I move forward.
Returning to the man, what had changed for him since the previous scene, was his environment. Up on the eighth floor, the space bore some of the same earmarks of creativity as my clothing did. I found myself comparing what we each wore, particularly on our feet. What he wore didn’t have any interesting design elements; I saw it as ‘boring’. However, I didn’t seem to be judging what that meant for either of us; just contrasting the two. His style of dress was more casual than mine, with corduroy and a more casual long-sleeved shirt. In fact, with no shoes and his trousers rolled up, it was virtually the same.
When he was in the other scene, I didn’t have a sense of the beach being ‘his space or his domain’, as I did in this space. What does it mean to ‘own one’s space’? For me, it denotes confidence and familiarity. What does it mean that in this scene he can see and is consciously recognizing and interacting with me? Am I showing myself a progression between these scenes or lifetimes? Is it my progression or his or both? And what would we discover from our connection, if we sat down to have coffee together? It was implied but didn’t take place in the scene. Since I didn’t set up the coffee, I assume that he had someone do it or did it himself. That would seem to indicate an intention to connect. Our communication took place in my mind, perhaps telepathically, and not through the spoken word.
The Space Station Interpretation
Throughout the session which is comprised of the three scenes, I am astounded by the level of detail I was able to perceive and recount. Even now, a few years later, the session is just as vivid in my memory as it was when I experienced it. For instance, in the beach scenes, I could feel the temperature of the air, the wind on my face and the feel of it blowing the silky kaftan, the cool wetness of the hard-packed sand under my bare feet, the warmth of the dry sand in the cove and the comparative lack of wind. I can hear the dog sniffing sand up his nose and snorting it out again.
Once in the plaza and the public building, it was my sense of light and colour that was of note. Then when I was ‘sucked’ out of the second scene and off the planet, I had a sudden and startling sensation of being sucked. It’s in the language I used to describe it; being ‘coughed’ out in the space around the station. I noted that it was very quiet. In fact, there was complete silence. I could feel myself floating and bumping the structure. Each environment was completely unique in its features but also in terms of how I experienced them with my senses.
All three scenes involved a transition preceding the arrival in the location where the more substantial part of the scene would take place: the first beach led around a headland to the next; the plaza and lobby led to the eighth floor via an elevator and; the outside of the space station led through a garage-like door to the inside of the structure. I wonder why I have been provided with these transitions. Is it showing me that I have similar transitions in my life?
If the previous scene provided me with a meta-perspective, then this one, since we’re out in space, could be providing me with a more ‘Galactic’ one. Once again, I encounter ‘the man’ and I notice that he is older than he was in the previous two scenes. I don’t, however, have a sense of the age of the ‘me’ who is observing and then interacting with him. Why not? Once again I am in his environment, although I don’t have the impression that this is about his lifetimes as opposed to mine.
In the beach scenes, he was apparently unaware of what was transpiring. In the second scene, he was aware of me and of knowing who I was, but not consciously aware of the thread of what was transpiring. In this third scene, I know that he is aware of all of it. He ages and seems to gain increasing degrees of awareness. However, there doesn’t seem to be a progression of age for me, one way or the other; nor do I seem to gain progressive awareness. It seems to me that we represent different things.
I differentiate between a ‘command position’, although not the command position, and being a ‘visitor’. Perhaps this is not the form of myself where I spend all my time – at least not in this lifetime. Perhaps I just ‘visit’ here to reorient myself.
He appreciates me for being me. In all three scenes, I sense between us reciprocal affection, acceptance, trust and familiarity. I sense that I am exploring but not that he is. The dog who has become his daughter is familiar to me also. I note that they ‘belong’ together but that my relationship with the two of them is something else.
At this point, and still in an altered state, I gave myself a summary of what the session had to show me:
There’s all these different facets coming together from different times and places and roles and dimensions. When we meet somebody, it’s all there, in all the nuances. Sometimes we know it and sometimes we know that we don’t know it – we do but we don’t. Sometimes it’s just a feeling. You don’t see the person. Sometimes, like the boy, he knew me and took me in immediately – like there’s a sense of possession. ‘Playmate material!’ Sometimes it’s, ‘Okay, we are going to rub along and do this.’ Sometimes, it’s like curiosity – like with the dog. Sometimes it’s just a recognition – like the man’s raised eyebrow. Sometimes it’s a sense that we’ve both arrived and we are fully here. It’s all these things every time we meet someone. There’s a watching and reaction, and a chemistry, and a recognition, and an emotion – a joy – and an ‘Oh, there you are!’ …It’s like asking yourself whether you like people. You don’t like people in general; you like a person.
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In Summary
This is what I got in the last few minutes at the end of the session, and I’m quoting directly:
And finally, I’m asking if this man has anything to tell me. He’s stroking my hair. He says, ‘We’ll know.’ There’s something emotional about him that I can feel. It’s a loving, a recognition, a spiritual knowing, an energy knowing – more than physical bodies and times and places and rules. It’s very equal. His gray-white hair is longer than the other times I’ve seen him. There’s a sort of similarity that stamps you, us, anyone; a signature. The package may not look the same but look at those shoes; I can tell who you are! There’s a playfulness to it. Now he’s pushing me back into the light beam. He says to go home and wait – he’s coming, he says, forcefully, emphatically! The girl says, “It’s true, he is coming.”
It’s easy to lose sight of one’s value and purpose. I often find myself going on faith that there is a greater purpose and greater meaning to the mundanity of my day-to-day life. There is something reassuring to me in seeing what is common to my being, across time and space. It’s as if I’m saying to myself, ‘There, you see, you’re still doing that which fulfils you, gives you pleasure and uses your essential self.’
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This post is part of an ongoing series of Intergalactic Messages. In Oct 2019, I began an experiment with going into a light hypnotic state and seeing what I could find out from my Intergalactic team. Over the course of about 18 months, I repeated this process, with Jennifer Ellis as my guide. I will continue to share excerpts from these valuable and thought-provoking recordings.
Photo Credits: Photo by Frank Mckenna on Unsplash, Photo by Max Zhang on Unsplash, Photo by Yurii Kosyakevich on Unsplash, Photo by Sq Lim on Unsplash
She Who Knows is the name of my Blog/Pod. I share my heartfelt and useful insights from my natural curiosity and my own experiences. It’s my laser beam of channeled vibrational light and information.
